Tuna Margalit was the Executive Arts & Pop Culture Editor at The Tufts Daily. He is a junior studying political science. Tuna can be reached at [email protected]

Kanye keeps his faith, but we’re looking for more

This past Friday at approximately noon, this century’s most polarizing, provocative, interesting and ultimately wildly talented artist dropped his long-awaited ninth solo studio album. Kanye West, after pushing back the release of the originally-titled “Yandhi” multiple times over a span of more than a year and starting his own traveling church known as “Sunday Service,” […]

Alumnus’ documentary ‘Sunday Sessions’ brought to Tufts

The Experimental College and the film and media studies department co-hosted a screening of “Sunday Sessions” this past Thursday. The observational documentary — produced, edited and brought to Tufts by alumnus Allen Irwin (LA’10) — puts a spotlight on the modern forms of conversion therapy, focusing on one religious young man’s experience through the controversial process. ExCollege Director Howard Woolf introduced […]

‘A Hidden Life’ reveals too little

“A Hidden Life” (2019), director Terrence Malick’s latest foray into questions of the human spirit and conscience, ends with a quote on a black screen, written by the pseudonymous English writer George Eliot: “…for the growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you […]

‘It Chapter Two’ gets bogged down in the basics

“It Chapter Two” (2019) is succeeding in doing what any production company could hope for a sequel to a wildly profitable film to do: Make lots of money, again. This outcome was all but a guarantee, seeing as the first “It” (2017) grossed $700 million worldwide off a relatively small budget of $35 million. The […]

2019 summer movie roundup

This year’s box office has been Disney-dominated — from the Marvel Cinematic Universe (MCU) to remakes, Disney has half of the 10 highest grossing films of the year. It’s no surprise that some of these films have been summer blockbusters, but there are other films that rose to success. Here are the Tufts Daily’s arts […]

Review Rewind: ‘Snatch’

The Movie: “Snatch” The Year: 2000 The People: Jason Statham as Turkish, Brad Pitt as Mickey O’Neil, Benicio Del Toro as Franky Four Fingers, Lennie James as Sol, Dennis Farina as Cousin Avi, Guy Ritchie as the director of the film. The Non-Revealing Plot: Three separate plots are hatched to retrieve a stolen diamond. Unofficial […]

Review Rewind: ‘Long Shot’

The Movie: “Long Shot” The Year: 2017 (technically 2003) The People: Juan Catalan as himself, a man accused of murder; Alma Oseguera as herself, Juan’s girlfriend; Melissa Catalan as herself, Juan’s young daughter; Todd Melnik as himself, Juan’s criminal defense attorney; Larry David as himself, the star of the show that was being filmed at […]

Review Rewind: ‘Strangers on a Train’

The Movie: “Strangers on a Train” The Year: 1951 The People: Farley Granger as the supremely stressed-out tennis player, Guy Haines; Robert Walker as the slick psychopath, Bruno Anthony; Ruth Roman as Guy’s supportive, elegant girlfriend Anne Morton; and Patricia Hitchcock as Anne’s inquisitive and unrelenting sister Barbara Morton. Alfred Hitchcock, the director, shows off his knack for thrill-inducing set pieces. […]

Review Rewind: ‘Swingers’

The Movie: “Swingers” The Year: 1996 The People: Jon Favreau as the recent dumpee Mike; Vince Vaughn as the womanizing Trent; Ron Livingston as Mike’s go-to friend for therapeutic relief, Rob; Patrick Van Horn as the easily angered Sue; and Heather Graham as the beautiful woman Mike meets at the end of the film, Lorraine. […]

Review Rewind: ‘Synecdoche, New York’

The Movie: “Synecdoche, New York” The Year: 2008 The People: Philip Seymour Hoffman as the neurotic and death-fearing theater director Caden; Samantha Morton as the quirky, flirtatious box office staff member Hazel; Catherine Keener as Caden’s fed-up, maritally drained wife Adele; and Charlie Kaufman as the brilliant screenwriter and director of the film. The Non-Revealing […]

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